Veronika Dzhioeva (Soprano)
The young soprano Veronika
Dzhioeva is in great demand worldwide. Opera lovers flock
to her performances in Great Britain, Germany, Switzerland, Austria,
Italy, Spain, the Czech Republic, Estonia, Lithuania, the USA, China,
South Korea and Japan. She graduated from the St Petersburg State
Rimsky-Korsakov Conservatoire (class of Professor Tamara Novichenko, who
also taught Anna Netrebko). Veronika Dzhioeva’s career began with her winning
3rd prize at the Maria Callas International Competition
(Athens, 2005). She made her operatic debut in 2004 as Mimì
in Puccini’s La Bohème under the baton of Alim Shakh.
Russian music critics began to take note of her following her Grand
Prix victory at the VII International Vocal Competition
(Kaliningrad, 2006). Russia’s Culture magazine awarded her
the title of “Debut of the Year” for the role
of Fiordiligi in Così fan tutte (2006, conducted
by Teodor Currentzis). Rodion Shchedrin’s choral opera Boyarina
Morozova, in which Dzhioeva sang as Princess Urusova, proved
a highlight in the Moscow theatre world. Veronika Dzhioeva is
currently a leading soloist in the so-called “Golden Triangle”
of Russian opera houses (the Mariinsky, the Bolshoi
and the Novosibirsk State Opera), and all of her premieres
receive nationwide coverage. Dzhioeva has performed such diverse roles
as the Countess (Mozart’s Le nozze di Figaro), Donna Elvira
(Mozart’s Don Giovanni), Thaïs (Massenet’s Thaïs), Tatiana
(Tchaikovsky’s Eugene Onegin), Micaëla (Bizet’s Carmen),
Violetta (Verdi’s La traviata), Fiordiligi (Mozart’s Così fan
tutte), Elisabetta (Verdi’s Don Carlo) and Mimì
and Musetta (Puccini’s La Bohème). Her repertoire also includes
the roles of Zemfira (Rachmaninoff’s Aleko), Marfa
(Rimsky-Korsakov’s The Tsar’s Bride), Lady Macbeth (Verdi’s
Macbeth), Maria Stuarda (Donizetti’s Maria Stuarda), Madama
Butterfly (Puccini’s Madama Butterfly) and Marta (Weinberg’s
The Passenger). Premieres at the Mariinsky Theatre
never fail to arouse great interest among St Petersburg’s opera-going
public. The recent premiere of Rachmaninoff’s Aleko (staged
by Mariusz Treliński) in St Petersburg and in Baden-Baden
under the baton of maestro Valery Gergiev brought the singer
great acclaim. In October 2010 Veronika Dzhioeva appeared as Donna
Elvira (Mozart’s Don Giovanni, Bolshoi Theatre premiere, production
by Dmitry Chernyakov). In April 2011 Veronika received standing
ovations in Munich and Luzern for her performances
as Tatiana (Eugene Onegin with the Bayerisches Rundfunk
Sinfonieorchester under the baton of maestro Mariss Jansons). She
received a repeat invitation from Jansons in October-November 2013,
this time for Mahler’s Second Symphony with the Royal Concertgebouw
Orchestra in Amsterdam, St Petersburg and Moscow. Her most recent
premiere at the Hamburgische Staatsoper (as Yaroslavna
in Borodin’s Prince Igor, September 2012) met with
an enthusiastic response from the audience and received lavish
praise from German critics. Next followed two premieres as Suor Angelica
(Puccini’s Suor Angelica, Teatro Real, Madrid, 2012) and Donna
Elvira (Mozart’s Don Giovanni, Houston Grand Opera, 2013). Dzhioeva
collaborates with many world-renowned figures in the music world including
Valery Gergiev, Mariss Jansons, Yuri Bashmet, Mikhail Pletnev, Sergei
Leiferkus and Anna Netrebko among others. The singer enjoys
fruitful partnerships with Italian theatres including the Teatro
Petruzzelli (Bari) and the Teatro Comunale (Bologna). She has also
performed the title role in a production of Donizetti’s opera
Maria Stuarda to great acclaim in Palermo (Teatro Massimo).
Dzhioeva frequently appears in concert performances. In past seasons
she has sung the soprano parts in Verdi and Mozart’s Requiems,
Mahler’s Second Symphony, Beethoven’s Ninth Symphony, Mozart’s Große
Messe (under Yuri Bashmet) and Rachmaninoff’s poem
The Bells. The singer’s performance of Richard Strauss’
Vier Letzte Lieder (under Alim Shakh) marked an important turning
point in her career. Dzhioeva’s recital repertoire includes
a considerable number of works by contemporary composers. Russian
audiences have been particularly enchanted with the vocal cycles
The Run of Time by Tishchenko
and The Guitar’s Lament by Minkov. The fantasia
Severing Winter by the young St Petersburg composer
Anton Tanonov, performed in Bologna under Brazilian maestro Osman Gioia,
was a particular success. Veronika Dzhioeva has been a prize-winner
at numerous competitions, among them the Maria Callas Grand Prix
(Athens, 2005), the Amber Nightingale international competition
(Kaliningrad, 2006, 1st prize), the Klaudia Taev International
Competition (Pärnu, 2007, 2nd prize), the All-Russian
Competition of Opera Singers (St Petersburg, 2005),
the International Glinka Competition (Astrakhan, 2003), the World
Vision international competition and the Tchaikovsky All-Russian
Competition. The singer has been presented with a great number
of theatre awards including the Golden Mask
and the Golden Sofit. Veronika was honoured with
the Paradise prize for her performance as Lady Macbeth
in a joint Russian-French staging of Verdi’s opera Macbeth.
The singer was awarded the Czech Republic’s EURO Pragensis
Ars prize in 2010. In November 2011 Veronika took the Grand
Prix at Russia’s Channel 1 TV competition Grand Opera. Of particular note
among her recordings is the album Opera Arias. Dzhioeva’s voice is
frequently used in TV films (including Monte-Cristo
and Vasilievsky Island). The director Pavel Golovkin’s TV
film The Winter Solo of the Wave, dedicated entirely
to the work of Veronika Dzhioeva, was released recently.
“Veronika Dzhioeva is one of the most remarkable singers
of the modern music age. She has a soprano of the most
beautiful timbre and a broad range combined with phenomenal artistic
abilities. All that Veronika has performed and embodied
on the stage over the past years deserves great attention. Having
made her debut as Mimì in Puccini’s La Bohème, Veronika
immediately attracted attention because we had not heard such artistic singers
filled with deep emotion for a long time. Veronika is especially
wonderful in Italian opera – not only because of her voice
and subtle feeling of the style but also because of her
almost faultless Italian pronunciation. Her image doesn’t hold any drawbacks –
and whatever there might be are negligible. Veronika also appears majestic
in the recital repertoire in which she can perform songs
of different styles one after the other. And no-one can have any
doubts that chamber vocal music is where she truly shines. When Veronika
performed my vocal cycle The Run of Time (to verse
by Anna Akhmatova), I was astonished by the ‘temperature’
of her soul’s penetration into the heart of the music
and her level of precision in terms of inflection with such
a complex musical text. Veronika arouses in me a wish
to work with her more and more. Today there can be no doubt that
Veronika Dzhioeva as a singer belongs to the entire world.”
Boris Tishchenko, composer, People’s Artist of Russia “Veronika
Dzhioeva was excellent as Tatiana, both in her early naivety
and in her later worldly-wise standoffishness.” The New
York Times, April 20, 2011
"La Traviata" Veronika Dzhioeva - Mariinsky Opera |
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About This Video 06:18 G. Verdi - La Traviata
Veronika Dzhioeva
Mariinsky Theater, St. Petersburg, 2008 |
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